“…haunting and sad; the feelings of grief and sadness are palpable and heavy.” – Decibel Magazine
Denver atmospheric doom unit BLEAKHEART today undrapes their stunning new video for “The Visitor.” Now playing at Decibel Magazine, the sullen but commanding track comes off the band’s Dream Griever full-length, released last month.
A haunting eclipse of sorrow and desire, BLEAKHEART weaves their longing psychedelia into a crushing mass of melancholic wonder. Writes Decibel Magazine, “The feelings of loss and grief upon losing a loved one are often crushing, depressing, and hopeless. Though most people understand and relate to these feelings, transmitting them through music is a difficult thing, which makes BLEAKHEART‘s ‘The Visitor’ all the more powerful. The third song on BLEAKHEART’s recently-released album, Dream Griever, ‘The Visitor’ is driven by sparse, doomy guitar from JP Damron (Vermin Womb, In The Company Of Serpents) and Kelly Schilling’s (Dreadnought) vocals, which float mournfully over her bandmates’ instrumentation. Paired with a black-and-white video comprised mostly of outdoor nature shots, ‘The Visitor’ is haunting and sad; the feelings of grief and sadness are palpable and heavy.”
View BLEAKHEART’s “The Visitor,” now playing at Decibel HERE.
BLEAKHEART’s Dream Griever was produced, recorded, mixed, and mastered by Pete DeBoer (Blood Incantation, Dreadnought) at World Famous Studios in February – March 2020 and comes swathed in the art of Brian D’Agosta (Gostworks Art).
Dream Griever is out now on CD, cassette, and digitally with Sailor Records handling the vinyl edition. For orders, visit the band’s Bandcamp page at THIS LOCATION where the record can be streamed in full.
BLEAKHEART was initially the solo project of JP Damron (Vermin Womb, In The Company Of Serpents) who soon recruited friend Kelly Schilling (Dreadnought) to contribute her voice to the venture. Following the release of their first demo, the dreamy-dreary duo was joined by Mark Chronister and Josh Kauffman to fully realize their distinct downtrodden, mournful resonance.
By juxtaposing somber, low-fi, guitar-driven soundscapes with shimmering, ethereal vocals and keys, Dream Griever seeks to reflect on the absurdity of the human condition. “The album explores the patterns of destruction and turmoil created within us and the time we lose within those fleeting cycles,” says Schilling. Through anger, deception, loss, and wanting, Dream Griever presents a vulnerable and beautiful atmosphere of introspection around the pitfalls of human experience. “The record goes to all of those places – the acknowledgement, the attempted escape, and the inevitable missteps into the depths of our own machinations.”
“It’s a dark, atmospheric set of shoegaze-tinged gothic doom, with heroic vocals and an emotional weight as heavy as its riffs…” – Treble
“Shoegaze, indie rock, alternative lo-fi rock, sludge metal, there are hundreds of bands, playing this kind of music, but it’s not so easy to combine all these together (not to mention the influence of jazz, psychedelic rock and other surprises), and stay sane without a need to dive into the absurdness of avant-garde. BLEAKHEART managed to stay holistic, melodic, and chilly fresh is a musical scene overcrowded with clones.” – Antichrist Magazine
“BLEAKHEART have created a dark, hypnotic, glacial-paced blend of doom, post-rock, shoegaze, goth, folk, psychedelia, and more, and Kelly Schilling’s soaring voice keeps you hooked at every turn.” – BrooklynVegan
“It’s tinged with plenty of shoegaze, darkwave, and goth trappings while also constantly hovering in those rarified spaces known as ‘funeral’…the guitars are deep and dreamy, echoing as if from within a well, while the way that the keys interact with them reminds us of Earth, during their The Bees Made Honey In The Lion’s Skull and Hibernaculum era.” – Heavy Blog Is Heavy
“By the end of the album’s forty-five minutes, there’s time spent in everything from progressive rock to shoegaze. Graceful vocals from Dreadnought’s Kelly Schilling accentuate the deliberate, slow method in which the band conducts their music. No song goes under seven minutes, and though there’s an inevitable uptick of distortion, its build is worth the wait.” – Heavy Music Headquarters
“…hauntingly atmospheric… with Kelly’s wonderful vocals taking the spotlight up against tingling keyboard sensations and patient guitars…” – The Prog Mind